to my opinion it would be great if someone anyone would record an identical
piece of renaissance music twice: once in equal temperament and once in a
different tuning so that everybody can appreciate the difference.
Of course, one thing that nobody mentioned in this discussion is our
> On Jul 20, 2019, at 4:22 AM, Ron Andrico wrote:
>
> musicians who
> understand music and who explore the more interesting repertory for
> lute follow the precepts of Galilei, which approximates equal
> temperament.
You just trashed most of the best musicians in early music, and,
It is very nice, on the contrary.
Messaggio originale
Da: r.turov...@gmail.com
Data: 21/07/19 19:37 (GMT+01:00)
A: Lex van Sante
Cc: lute mailing list list
Oggetto: [LUTE] Re: Re:
It is equally hideous on harpsichord-
It is equally hideous on harpsichord-
[1]https://youtu.be/0z7nW2jRA7g
[2]http://turovsky.org
Feci quod potui. Faciant meliora potentes.
On Jul 21, 2019, at 12:40 PM, Lex van Sante <[3]lvansa...@gmail.com>
wrote:
Anyone can hear that this organ is not in tune.
Anyone can hear that this organ is not in tune.
Whatever the temperament the octaves should be pure.
I agree with Roman that this sounds horrible but this has nothing to do with
the temperament.
Cheers,
Lex
> Op 21 jul. 2019, om 17:59 heeft r.turov...@gmail.com het volgende geschreven:
>
Thank you Rafael,
I am intrigued. Would you kindly tell us precisely how you fret your
instrument? I mean the exact cents you employ for each fret, from fret
one through to fret 10 for each of the temperaments you employ.
regards
MH
On Sunday, 21 July 2019, 16:13:00 BST,
This is a piece by Tarquinio Merula in MT,
Anything but beautiful-
[1]https://youtu.be/dyzYjyp8zCw
[2]http://turovsky.org
Feci quod potui. Faciant meliora potentes.
On Jul 21, 2019, at 11:34 AM, David van Ooijen
<[3]davidvanooi...@gmail.com> wrote:
The beauty
I suppose the payments were prorated, depending on the testudinal
idling!))
RT
[1]http://turovsky.org
Feci quod potui. Faciant meliora potentes.
On Jul 21, 2019, at 11:25 AM, tribioli <[2]tribi...@arcetri.astro.it>
wrote:
Just a theorbo and an archlute are
The beauty of MT is that each key has it's own character. I've played
l'Orfeo 30 times. 30 Times in MT. I've lost count of the times I've
played Monteverdi's Maria Vespers (over one hundred times, anyway) all
in MT.
David
On Sun, 21 Jul 2019 at 17:21, <[1]r.turov...@gmail.com>
Just a theorbo and an archlute are enough. Not so bad :-)
Messaggio originale
Da: r.turov...@gmail.com
Data: 21/07/19 17:15 (GMT+01:00)
A: tribioli
Cc: Matthew Daillie , "lute@cs.dartmouth.edu
list"
Oggetto: [LUTE] Re:
So - I took a quick look:
So - I took a quick look: l’Orfeo starts in C and goes through a, d, F, g, G,
Bb, c and even f.
A separate theorbo for each key change, I suppose!))
RT
http://turovsky.org
Feci quod potui. Faciant meliora potentes.
> On Jul 21, 2019, at 8:49 AM, r.turov...@gmail.com wrote:
>
> Out of
Dear all,
I would like to share my thoughts on this matter, based on my
experience as a gigging and recording musician. Since around 2006 I use
a modified meantone temperament wich, in my opinion, works practically
for fretted plucked instruments. I use it on my theorbo, my archlute
This seems like a good statement.
Varieties in playing even feature the famous "stop with left thumb", so...
A fellow guy from back in the day at musicology once told me that he
found evidence that people
didn't even play with the same temperament in consorts. I haven't heard
this live other
Out of curiosity:
There should be estimates around of how many keys say a Monteverdi opera goes
through.
I am pretty sure Claudio didn’t worry about the fretted guys temperaments, did
he?
unless they had a different axe per movement.
RT
http://turovsky.org
Feci quod potui. Faciant
Good shot, Francesco ;-) !
Jean-Marie
Le 21/07/2019 à 12:16, tribioli a écrit :
I know only one thing: for me 1/6 comma practically works. No slanted
frets nor tastini. I don't bear anymore to play early Renaissance music
in equal temperament which on the other hand I use on all
I know only one thing: for me 1/6 comma practically works. No slanted
frets nor tastini. I don't bear anymore to play early Renaissance music
in equal temperament which on the other hand I use on all the later
music as it allows to play in other keys than the "standard"
Renaissance
OK, I stand corrected, you know best. Have a nice day.
Matthew
Le 21 juil. 2019 à 11:15, Martyn Hodgson a
écrit :
> Dear Matthew,
> Thank you for his - though I really do not know why you suggest a
> 'slanging match'!. My intention is merely to put some historical and
> practical
Dear Matthew,
Thank you for his - though I really do not know why you suggest a
'slanging match'!. My intention is merely to put some historical and
practical perspective on the matter rather than simple personal
assertion. To repeat: you are making the common mistake of
I certainly do not wish to get into a slanging match here, I was merely
responding to a request for practical help with temperaments. In my opinion,
the prerequisite for that is to have some understanding of the basics of the
theory and above all, to get one's ears used to hearing pure
Not all tastes are created equal.
RT
Sent from my iPhone
> On Jul 20, 2019, at 11:34 AM, Tristan von Neumann
> wrote:
>
> Roman, "insufferable" temperament does not exist.
>
> All temperaments are an acquired taste - otherwise you would (and some
> people surely did) think the music of
Hi all.
At the risk of opening a can of worms, does anyone have any theories
of why there are not more (any) works by J.S. for what was, arguably,
the finest solo instrument of his day? I can think of a few possible
reasons:
a. He wasn't paid to write for lute;
b. Being an organ/keys/violin
Dear Matthew,
Yes - of course this is the case. But you are making the common mistake
of discussing theoretical temperaments (mainly, in practice, only
employable on keyboard instruments) with practical temperaments
appropriate for fretted instruments such as the lute.
The
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